* ?
SiMON FRASER UNIVERSITY
S.
MEMORANDUM
•Senate
Subject. ..
.Centr. . f.Qr. .the. .ts. £rQpoecl.
Curricular Changes
From ....
.°!. ?
arming
Senate Committee on Undergraduate
Studies...................................
Date .....
April. 3L,.].9&5.............................
Action taken by the Senate Committee on Academic Planning
at its meeting of Wednesday, April 3, 1985 and the Senate Committee
on Undergraduate Studies at its meeting of Tuesday, April 30, 1985
gives rise to the following motion.
"That Senate approve, and recommend approval to the
Board of Governors, the Centre for the Arts proposed
curricular changes as set forth
in
S.85- 26
WW/em
•
SiMON FRASER UNIVERSITY
$
MEMORANDUM
.. ,. . .t.,.
Wat.tamarLi uk.,, . Sec.retar.y ?
.
Senate Committee on Academic
Lani.i ng....................................
Subject...
CENTRE. . FOR. THE. .ARTS. . PROPOSED...
CURRICULAR CHANGES (ISC 85-05)
From ......
Thomas. .Tz.. .C.aiver.t
Dean,
Faci.lt.y......I.J).S1
Date ......
Mar .
ch
..
28 ) ..
l985 ........................
.
At a meeting of the Faculty of Interdisciplinary Studies
Undergraduate Curriculum Committee held on Tuesday, March 26,
1985 members of the committee approved all curricular changes set
forth in the attached paper from the Centre for the Arts. Also
attached is documentation demonstrating that this proposal has
been circulated to other faculties and to the Library for
information.
Our Committee noted that the curriculum changes set out in
this proposal are a response to the drastic budget cut which the
Centre has had to absorb. It is felt that while we regret that
these changes will result in a substantial limitation on the
programs offered by the Centre now and in the future, the new
programs will be academically innovative and of high quality.
Would you please place this item on the next agenda of the
Senate Committee on Academic Planning.
TWC/r j
[]
a
TABLE OF CONTENTS
Introduction and Summary of Proposed Curricular Changes
?
1
II ?
The Fine and Performing Arts Major
?
4
A.
Rationale for the Proposed FPA Major & Disciplinary Concentrations
?
4
B.
Proposed EPA Major
?
4
C.. Proposed Disciplinary Concentration re Requirements for FPA Major
?
6
1. Concentration in Dance
?
6
2. Concentration in Film
?
6
3. Concentration in Music
?
7
4. Concentration in Theatre
?
8
5. Concentration in Visual Art
?
8
D. Current Requirements for EPA Major (for Reference)
?
9
S
III
Proposed New Fine and Performing Arts Minor
io
IV
Discontinuation of Disciplinary Minor Programs
ii
V
The Dance Major
12
A.
?
Rationale for the Proposed Dance Major
12
B. ?
Proposed Dance Major
13
C. ?
Current Dance Major (for Reference)
14
VI
Specific Curriculum and Calendar Changes
16
A.
?
Dance
16
B. ?
Film
22
C.
?
Music
27
D.
?
Theatre
29
E. ?
Visual ?
Art
31
F. ?
Interdisciplinary ?
.
33
VII
Proposed Implementation Schedule
35
A.
?
Implementation of Changes by Study Areas
. ?
35
B.
?
Implementation of Program Changes
37
APPENDIX I
?
Proposals for New FPA Courses
?
.
38
n
I.
?
INTRODUCTION
This curricular package of the Centre for the Arts includes a
revised EPA Major, a revised Dance major and a new EPA minor program.
The five minor degree programs in dance, film, music, theatre and
visual art will be dropped.Substantial disciplinary emphases will
be maintained in the form of concentrations as part of the FPA major.
With the discontinuation of the minors, the disciplinary concentrations
must be recognized on student records and transcripts.
Revisions here presented will constitute a more streamlined and
cohesive Centre for the Arts curriculum. Overall, there will be a net
loss of twelve courses and several other courses will undergo a reduction
in credits and vector hours. Several other courses will be offered less
frequently.
The FPA major, with its balance of disciplinary work in conjunction
with FPA course work outside chosen disciplines, makes the cross-disciplinary
experience of the Centre's students more explicit. The Dance major is
redesigned so that the studio courses are streamlined and a strong integrated
program is preserved. The proposed EPA minor has a course
load
similar to
many other minors in the University curriculum. As such, and given its
open structure, it will attract students from outside the Centre for the
Arts who wish to pursue particular interests that complement or diversify
their undergraduate education.
These three programs: the EPA major, Dance major, and EPA minor,
represent a simplified and coherent range of offerings. The excellence
and innovation of the Centres pedagogical objectives is retained within
an economical and interdependent curriculum.
.
0
•
?
SUMMARY OF THE CENTRE FOR THE ARTS'
PROPOSED CURRICULAR CHANGES
Programs to be Restructured
Dance Major
Fine and Performing Arts Major with:
Concentration in Dance
Concentration in Film
Concentration in Music
Concentration in Theatre
Concentration in Visual Art
New Program Proposed
Fine and Performing Arts Minor
Programs to be Dropped from Calendar
Minor
in Dance
Minor
in
?
Film
Minor
in Music
Minor
in Theatre
Minor
in Visual ?
Art
New Courses ProDosed
EPA. 163-3
. EPA. 232-3
EPA. 233-3
FPA.267-2
FPA.330-3
EPA. 1395
FPA.L160_5
Issues in Spatial Perception
Scripting I
Video Production
Introduction to Critical Theory in Visual Art
The Craft of Film II
Directed Studies in Film
Studio in Visual Art V
Courses to be Dropped from Calendar
EP
A.125-3 Structural Approach to Ballet I
FPA.126-3 Structural Approach to Ballet II
FP A.
1
32
-3 Introduction to Filmmaking
FP
A.133-3 Filmmaking Fundamentals
FPA.142-3 Music In History I
FPA.176-3 Photography as an Art Form
EPA.210-6 The Arts in Context: The Renaissance
FPA.212-6 The Arts in Context: Baroque and Enlightenment
FPA.213-6 The Arts in Context: Romanticism
EPA.214-6 The Arts in Context: Modernism
FPA.215-6 The Arts in Context: The Contemporary Period
FPA
.225-3 Ballet I
FPA.226-3 Ballet II
EPA.231-3 The Craft of Film II
. ?
FPA.239-3 Selected Topics in Film I
EPA-322-3 Ballet III
EPA
.323-3 Ballet IV
FPA.432-5 Advanced Film Production II
FPA
J33-5 Experimental Film Production 11
.
Courses to have Course Number, Credit Hours, Vector, Title, Course Description
and/or Prerequisites Changed
FPA. 122-3 Contemporary Dance I
FPA. 1 2
3-3
Contemporary Dance It
FPA.128-3 History of Dance: The 20th Century
FPA.1
37-3
The History and Aesthetics of Cinema H
EPA. 140-3 Introduction to Contemporary Music
FPA.141_3 Introduction to Music Performance
FPA.14
3-3
Music in History II
FPA.150-4 Basics of Theatre
FP
A.167-3 Introduction to the History of Art If
FPA..220-3 Contemporary Dance III
FPA.22I-3 Contemporary Dance IV
FPA.230-3 The Craft of Film I
FPA.2
3 4
-3
Introduction to Film Theory
FPA.252-3 P]aymakinq I
FPA.2
53-3
Playmaking II
FPA.310-6 The Arts in Context: The Renaissance
FPA.312-6 The Arts in Context: Baroque and Enlightenment
FPA.
313-6 The Arts in Context: Romanticism
F
p
A.31
1
-6 The Arts in Context: Modernism
FPA.
315-6 The Arts in Context: The Contemporary Period
FPA.320-5 Contemporary Dance V
FPA.
321-5 Contemporary Dance VI
FPA.
331-3 The Craft of Film III
EPA. 332-5 Screenwriting and Film Directing
FPA.
339-3 Selected Topics in Film II
FPA.352-3 Playmaking III
FPA.353-3 Playmaking IV
FPA.366-3 Problems in Visual Art I
FPA.
367-3 Problems in Visual Art II
FPA.420-5 Contemporary Dance VII
FPA.421-5 Contemporary Dance VIII
FPA.425-5
Intensive Studies in Dance
FPA.426-3 Dance Analysis
FPA.430-5 Advanced Film Production I
FPA.431_5 Experimental Film Production I
FPA.
469-5
Directed Project in Visual Art
3
.
0
S
26
13. ?
(contd)
Rationale: The second semester of 4th year experimental
production, FPA. 433-5, is being deleted from the curriculum
and therefore changes are necessary in the title and description
to eliminate the idea that this is the first course of a series.
EPA. 331 is being made the production prerequisite because
EPA. 231 is being deleted from the Calendar.
S
0
25
12.
?
(contd)
To: ?
EPA 430-5 Advanced Film Production
Advanced synchronous sound film production in the
areas of dramatic or documentary film. Students
are expected to participate in the location
production work and realization of one or more
films during the semester. Students seeking
entry to this course are expected to present a
completed screenplay prior to admission.
(Laboratory)
Prerequisites: FPA. 234, 331 and 332 or
permission of the Department.
Rationale: The second semester of 4th year production, EPA. 432-5
is being deleted from the curriculum and therefore changes are
necessary
in
the title and description to eliminate the idea that
this is the first course of a series.
The change in prerequisite to "or permission of the Department"
is to facilitate those students wishing to make documentaries
who do not need FPA. 332 to prepare the script. EPA. 331 is
being made the production prerequisite because FPA. 231 is being
deleted from the calendar, and it is expected that students will
complete 3 production courses before taking this course.
13. Change in title, course description and prerequisite for EPA. 431-5.
From: EPA. 431-5 Experimental Film Production I
The first semester of a two-course sequence in experimental
filmmaking at an advanced level. Students are expected to
participate
in
the realization of one or more film projects
during the semester with an emphasis on film as art, multi-
media or experimental film procedures. Students seeking
entry to this course are expected to present a completed
project outline prior to admission.
(Laboratory)
Prerequisites: EPA. 231 and 234, and permission of the
Department.
To: ?
EPA. 431-5 Experimental Film Production
A course
in
experimental filmmaking at an advanced level.
Students are expected to participate in the realization
of one or more film projects during the semester with an
emphasis on film as art, multi-media or experimental film
procedures. Students seeking entry to this course are
expected to present a completed project outline prior to
admission.
(Laboratory)
Prerequisites: EPA. 234 and 331, and permission of the
Department.
24
I
S
f
9.
Change in the prerequisite for EPA. 234-3 Introduction to Film Theory.
From: FPA. 136 and 137 and permission of the Department.
To: ?
EPA. 136 or 137, and permission of the Department.
Rationale: If EPA. 136 and EPA. 137 are taught less frequently, to
require both would unduly delay the student's eligibility for entry
into EPA. 234.
10.
Change in prerequisite for EPA. 331-3 The Craft of Film III.
From: EPA. 231 and FPA. 234 and permission of the Department.
To: ?
EPA. 330 and permission of the Department.
Rationale: The FPA. 234 prerequisite is being dropped. As EPA. 234
will be taught in alternate years, half the students will have to
take it concurrently with this course. EPA. 231 is being dropped
from the curriculum and therefore from the prerequisites for this
course.
11.
Change in title, credit hours, and prerequisites for EPA. 332-5
From: EPA. 332-5 Screenwriting and Film Directing
Prerequisites: EPA. 231
To: ?
EPA. 332-3 Scriptwritino and Dramatic Direction
Prerequisites: EPA. 234 and EPA. 330
Rationale: The credit hours are being diminished because the video
component of the course is being reduced. Prerequisites are changing
because FPA. 330 replaces EPA. 231 in the curriculum and EPA. 234
Will
provide a grounding in Film Studies which is important for
creative development.
12.
Change in title, course description and prerequisite for EPA. 430-5
From: EPA. 430-5 Advanced Film Production I
The first semester of a two-semester sequence in
advanced synchronous sound film production in the
areas of dramatic or documentary film. Students
are expected to participate in the location
production work and realization of one or more
films during the semester. Students seeking
entry to this course are expected to present a
completed screenplay prior to admission.
(Laboratory)
Prerequisites: FPA. 231 and 234 and permission of the Department.
S
23
6.
Change in course title for EPA. 339-3
From: EPA. 339-3 Selected Topics in Film II
To: ?
FPA. 339-3 Selected Topics in Film
Rationale: EPA. 239-3 Selected Topics in Film I is being dropped
from the Calendar.
7.
Change in prerequisite for EPA. 137-3 The History and Aesthetics
of Cinema II
From: FPA.136 The History and Aesthetics of Cinema I
To: ?
No prerequisite.
Rationale: It may be necessary to offer FPA. 136-3 and EPA. 137-3
less often. Hence the student cannot be reouired to
take these courses in sequence.
8.
Change in course description and prerequisite for EPA. 230-3 The Craft
of Film I.
From: An intensive study of the craft of filmmaking with
emphasis on use of the camera, lighting, sound and the
screenwriting process. Introduction to the techniques
of filmmaking will be accompanied by exercises in their
creative application.
Prerequisites: EPA. 133 and 136 or 137 and permission
of the Department.
To: ?
An intensive study of the craft of filmmaking with
emphasis on use of the camera, lighting, sound and
editing. Introduction to the techniques of
filmmaking will be accompanied by exercises in
their creative applications.
Prerequisites: EPA. 232, and 136 or 137 and permission
of the Department.
Rationale: As the screenwriting process will now be dealt with more
intensively in the proposed new course, EPA. 232-5 Scripting I, this
course will concentrate more on craft skills, including editing.
The change in prerequisite reflects the fact that EPA. 133 is being
dropped from the curriculum and EPA. 232 Scripting I, will become the
introductory course to the filmmaking program.
S
0
22
•
?
B . FILM
1. Dropping of Film
FPA. 132-3
EPA. 133-3
EPA. 231-3
EPA. 239-3
EPA. 432-5
EPA. 433-5
courses from the Calendar:
Introduction to Filmmaking
Filmmaking Fundamentals
Craft of Film II
Selected Topics in Film I
Advanced Film Production II
Experimental Film Production II
Rationale: These course deletions are a result of the restructure
of the Film concentration within the proposed EPA major revisions.
The first-year production courses, EPA. 132 and 133, will be replaced
with less expensive and more flexible scripting and video courses,
giving the students more fundamentals before they begin intensive
work in the secthid half of Year 2 of the program. EPA. 231-3 is to
be deleted in favour of the proposed new course FPA. 330-3 in keeping
with the shift of production courses into the upper division.
EPA. 239-3 is being deleted for budgetary reasons. The deletion
of EPA 432-5 and FPA. 433-5 represents a reduction in the level of
production in the 4th year. Even with reduced course offerings
students will still be able to acquire a concentration in film
with emphasis on film studies or film production. Within the
latter emphasis, students will be able to choose either group
filmmaking or experimental filmmaking.
2.
New Course: EPA. 232-3 Scripting I
See Appendix I for course proposal form, rationale, and course
outline.
3.
New Course:EPA. ?
3 - 3
Video Production
See Appendix I for course proposal form, rationale, and course outli,ne.
4.
New Course: EPA. 330-3 The Craft of Film II
See Appendix I for course proposal form, rationale, and course outline.
5.
New Course: EPA. 439-5 Directed Studies in Film.
See Appendix I for course proposal form, rationale, and course outline.
9
'LI.
7. (contd) ?
S
Rationale: The current faculty now has certified qualifications
in movement analysis and the scope and depth of the course has been
revised accordingly. The analysis of movement may be applied to fields
other than dance (e.g. theatre, kinesiology, anthropology, behavioural
psychology) and the chan
g
es would open the course to students in other
areas of the University.
[IJ
9
20
6.
Change in course description and prerequisite for FPA. 425-5.
From: EPA. 425-5 Intensive Studies in Dance
Intensive advanced study in particular styles of
contemporary dance and/or participation in
repertory works staged by visiting artists.
Demands the full-time involvement of students
for a minimum of four weeks, normally offered
during the Summer.
(Studio)
Prerequisites: EPA 220 and 221.
To: ?
EPA. 425-5 Intensive Studies in Dance
Intensive advanced study
in
particular styles of
contemporary dance and/or participation in
repertory works staged by experienced artists.
Prerequisites: EPA. 221-3 and permission of the Department.
Rationale: Due to budget cuts to the Centre for the Arts, the Summer
Dance Workshops have been eliminated. However, we would like to
retain the course concept in case we are successful in receiving
external funds to offer this course again to students. In addition,
we have been in need of a way to give students appropriate credit for
their work with faculty choreographers in performance situations or
for intensive workshops given at other institutions. Therefore, the
current course description is no longer germane and has been changed
• ?
to include a broader scope of options for this intensive work.
The prerequisite change will enhance the possibility that the
Department will approve proposals for intensive performance and
study.
7.
Change in the course title, description and prerequisites for EPA. 426-3.
From: EPA 426-3 Dance Analysis
A critical analysis of selected works of dance
choreography in live performance, on film or video,
or as reconstructed from written materials.
(Seminar)
Pre-requisites: [PA 382 or 384 and EPA 128 or equivalent.
To: ?
EPA 426-3 Dance/Movement Analysis
An introduction into the theory and practice of
movement analysis based on recognized theories of
analysis. Experiential work may be included in
the course and a dance or similar movement
background is necessary.
(Studio/Semi nar)
Ia ?
Prerequisites: EPA. 121 or 123 or 151, or equivalent.
4. (contd)
From: EPA. 20-5 Contemporary Dance VII
Studio work designed to expand movement vocabulary and
acquaint the student with form and style in contemporary
dance: includes extended involvement in composition and
improvisation as well as the development of technical
facility in movement.
To: ?
The third of four upper division courses which build
upon the movement vocabulary of modern dance and ballet.
Includes extended involvement in composition and
improvi sati on.
From: EPA. 421-5 Contemporary Dance VIII
Studio work designed to expand movement vocabulary and
acquaint the student with form and style in contemporary
dance. This course is a continuation of FPA. 420-5. It
includes extended involvement in composition and
improvisation of technical facility
in
movement.
To: ?
Continues and expands the work undertaken in FPA. 420-5.
Rationale: The course work will now include ballet.
5.
Change in course number, prerequisite and description for EPA. 128-3.
From: EPA. 123-3 History of Dance: The 20th Century
Survey of the development of the modern dance from
Loie Fuller and Isadora Duncan, the post-modern
Present, and the reformation of the ballet from
Fokine and Diaghilev to contemporary ballet. Emphasis
will be upon Western Theatre dance. A continuation
of FPA. 127-3.
Prerequisite: EPA. 127, or permission of the Department.
To:
?
FPA. 328-3: History of Dance: The 20th Century
Study of the development of modern dance and the
reformation of the ballet in the 20th century.
Emphasis will be placed on seminal dance artists and the
impact their work has had upon the art form in Western
theatre dance.
Prerequisite: 45 credit hours. Students with credit
for EPA. 128 or 326 or KIN. 310 may not take EPA. 328
for further credit.
Rationale: While students at the lower division benefit from a
survey course, the study of the history of dance can be more
illuminating when students have some maturity and experience. At
the upper division level, students are more interested in the work
of other artists and offer heightened critical perceptions. This
will increase the number of critical theory courses in Danceat
the upper division and will benefit students in need of completing
45 upper division credit hours.
The requirement of EPA. 127 as a prerequisite has been removed
to encourage students from other areas within the University to
take this course.
19
3. (contd)
From: EPA. 221 Contemporary Dance IV (0-0-8)
Studio work designed to expand movement vocabulary and
acquaint the student with form and style in contemporary
dance. Includes composition and improvisational work
as well as the development of technical facility
in
movement. This course is a continuation of FPA. 220.
To: ?
EPA. 221-4 Contemporary Dance IV (0-0-10)
Studio work designed to expand movement vocabulary and
acquaint the student with form and style in
contemporary dance and ballet. Includes composition
and improvisational work as well as the development of
technical facility
in
movement.
Rationale: With the deletion of the ballet courses, it is
intended that ballet be introduced within contemporary dance
courses commencing with EPA. 220-3. The additional work
that will be required necessitates a change in credit hours
vector and course description for FPA. 220-3 and EPA. 221-3.
4.
Change in course descriptions of EPA. 320-5, 321-5, 420-5 and 421-5.
. ?
From: EPA. 320-5 Contemporary Dance V
Studio work designed to expand movement vocabulary and
acquaint the student with form and style in contemporary
dance; includes extended involvement in composition and
improvisation as well as the development of technical
facility
in
movement.
To: ?
The first of four upper division courses which build
upon the movement vocabulary of modern dance and ballet
Includes extended involvement in composition and
improvisation.
From: EPA. 321-5 Contemporary Dance VI
Studio work designed to expand movement vocabulary, and
acquaint the student with form and style in contemporary
dance. This course is a continuation of EPA. 320-5. It
includes extended involvement in composition and
improvisation as well as the development of technical
facility in movement.
To: ?
Continues and expands upon the work undertaken in EPA. 320-5.
18
0
.
17
2. (contd.)
From: EPA. 123-3 Contemporary Dance II (0-0-8)
A continuation of EPA. 122 with the introduction
of more complex combinations and more abstract
improvisation and composition problems.
To: ?
EPA. 123-4 Contemporary Dance II (0-0-10)
Second studio course in a series designed for
students intending to major in Dance. Emphasizes
work in technique, composition and improvisation
and introduces fundamentals of movement and
theoretical approaches to modern dance.
Rationale: This course will now include
4
hours per week of dance
fundamentals work. Students will not study Ballet at the 100 level.
It has been discussed for some time in the Dance Area that students
at this level need more concentrated work in fundamentals of movement,
including alignment work. This work will allow them to progress at
an increased rate through the rest of the Program. The addition of
the Fundamentals work is facilitated by the elimination, of the 100
level ballet courses. However, this additional work necessitates a
credit hour change from 3 to 4 credits, and a contact hour increase
from 8 to 10. Again, this enables the students to have a daily dance
class which is so essential for progress in the art form. At present
100-level students may take 7 dance classes per week. The revised
plan lowers this to 5 dance classes per week.
3.
Change in credit hours, vector, and course description for EPA. 220-3
and EPA. 221-3.
From: FPA. 220-3 Contemporary Dance III (0-0-8)
Studio work designed to expand movement vocabulary
and acquaint the student with form and style in
contemporary dance. Includes composition and
improvisational work as well as the development
of technical facility in movement.
To: ?
EPA. 220-4 Contemporary Dance III (0-0-10)
Studio work designed to expand movement vocabulary
and acquaint the student with form and style in
contemporary dance and ballet. Includes composition
and improvisational work as well as the development
of technical facility in movement.
0
.
16
VI. ?
SPECIFIC CURRICULAR AND CALENDAR CHANGES
In order to implement the changes in the FPA major and the Dance
Major proposed above, it will be necessary to make a number of curricular
and calendar changes. These are listed below within each study area.
A. ?
DANCE
1. Dropping o
EPA.
EPA.
F PA.
EPA.
EPA.
FPA.
f the
125-3
126-3
225-3
226-3
322-3
323-3
3allet courses from the Calendar:
Structural Approach to Ballet I
Structural Approach to Ballet I]
Ballet I
Ballet II
Ballet III
Ballet IV
Rationale: The teaching of Ballet will be integrated into the second,
third and fourth years of the Contemporary Dance studio courses.
2. Change in credit hours, vector, and course description for EPA. 122-3
• ?
and EPA. 123-3.
From: FPA. 122-3 Contemporary Dance I (0-0-8)
First studio course in a series designed for students
intending to major in Dance. Includes work in technique,
composition and improvisation, and introduces theoretical
approaches to modern dance.
To: ?
FPA. 122-4 Contemporary Dance I (0-0-10)
First studio course in a series designed for students
intending to major in Dance. Emphasizes work in technique,
composition and improvisation. Introduces ?
fundamentals
of movement and theoretical approaches to modern dance.
0
Current Dance Major (continued)
Plus one of:
FPA. 310-6 The Arts in Context: The Renaissance
EPA. 312-6 The Arts in Context: Baroque and Enlightenment
EPA. 313-6 The Arts in Context: Romanticism
EPA. 314-6 The Arts in Context: Modernism
FPA. 315-6 The Arts in Context: The Contemporary Period
Plus one of:
EPA. 382-3 Aesthetics of Performance
EPA. 384-3 Criticism of Performance
Plus: ?
4 to 6 additional hours
in
EPA courses which may include general
electives in dance.
CMNS. 258-3 Introduction to Electroacoustic Communication
CMNS. 259-3 Acoustic Dimensions of Communications I
PHIL. 242-3 Philosophy of the Arts
The Department encourages students to develop coherent programs of study
related to Dance through coursework in other departments. Students wishing to
do so should seek Departmental advice at an early stage.
In addition to these specific requirements, students' programs must fulfil
the following general requirements.: 120 semester hours of credit to include 45
semester hours in upper division courses and 24 semester hours in courses outside
the Centre for the Arts. A maximum of 42 semester hours of credit in upper
division dance studio, performance and choreography courses may be applied
toward the general degree requirements of 120 hours.
In selecting courses to fulfil the minimum requirements for the degree of
24 credit hours outside the Department, students may either choose freely or
seek Departmental advice on courses related to the study of dance. In particular,
the Department recommends the following courses:
KIN. 100-3 Introduction to Human Structure and Function
KIN. 110-3 Current Topics in Human Nutrition
KIN. 241-3 Sports Injuries, Prevention and Rehabilitation
KIN. 326-3 Functional Anatomy
L
S
14
C.
?
CURRENT DANCE MAJOR (For Reference)
Lower Division Requirements - as prerequisites
At least 30 credit hours in EPA. courses including 27 hours as listed.
All of: EPA. 122-3
EPA. 123-3
EPA. 125-3
EPA. 127-3
EPA. 128-3
EPA. 220-3
EPA. 221-3
EPA. 224-3
Contemporary Dance I
Contemporary Dance II
Structural Approach to Ballet I
History of Dance: Origins to the 20th Century
History of Dance: The 20th Century
Contemporary Dance III
Contemporary Dance IV
Dance Composition I
Plus at least one lower division EPA course outside the Dance area.
Suggestions for optional/elective courses:
S
EPA. 104-3
EPA. 126-3
EPA. 136-3
EPA. 137-3
EPA. 140-3
EPA. 150-3
EPA. 151-3
FPA. 160-3
EPA. 170-3
EPA. 225-3
EPA. 226-3
Fundamentals of Music
Structural Approach to Ballet II
The History and Aesthetics of Cinema I
The History and Aesthetics of Cinema II
Introduction to Contemporary Music
Basics of Theatre
Introduction to Acting I
Introductory Studio in Visual Art I
Introduction to Technical Theatre
Ballet I
Ballet II
Upper Division Requirements
36 to 40 credit hours in EPA courses, distributed as follows:
All of: EPA. 320-5 Contemporary Dance V
EPA. 321-5 Contemporary Dance VI
EPA. 420-5 Contemporary Dance VII
EPA. 4
.
21-5 Contemporary Dance VIII
Plus one of:
EPA. 324-3 Dance Composition II
EPA. 423-5 Directed Studies in Choreography
EPA. 424-5 Directed Studies in Dance Performance
EPA. 425-5 Intensive Studies
in
Dance
EPA. 426-3 Dance Analysis
FPA. 429-5 Directed Studies
in
Dance Research
0
13
9.
?
PROPOSED DANCE MAJOR
Lower Division Requirements
A minimum of 25 hours in EPA courses, including 22 hours in Dance as listed:
All of: FPA. 122-4 Contemporary Dance I
EPA. 123-4 Contemporary Dance II
EPA. 127-3 History of Dance: Origins to the 20th Century
EPA. 220-4 Contemporary Dance III
EPA. 221-4 Contemporary Dance IV
FPA. 224-3 Dance Composition II
One of: FPA. 104-3 Music Fundamentals
EPA. 140-3 Introduction to Contemporary Music
EPA. 151-3 Introduction to Acting I
EPA. 160-3 Introductory Studio in Visual Art I
FPA. 170-3 Introduction to Technical Theatre
Other recommended lower division courses:
EPA. 111-3 Issues in the Fine and Performing Arts
EPA. 136-3 History and Aesthetics of Cinema I
EPA. 137-3 History and Aesthetics of Cinema II
EPA. 141-3 Introduction to Music Performance
EPA. 143-3 Music in History II
EPA. 150-3 Basics of Theatre
EPA. 163-3 Issues in Spatial Presentation
EPA. 233-3 Video Production
Upper Division Requirements:
A minimum of 39 hours
in
EPA courses, as follows:
All of: EPA. 320-5
EPA. 321-5
FPA. 328-3
EPA. 420-5
FPA. 421-5
One of: EPA. 324-3
EPA. 426-3
Contemporary Dance V
Contemporary Dance VI
History of Dance: The 20th Century
Contemporary Dance VII
Contemporary Dance VIII
Dance Composition II
Dance/Movement Analysis
One of: EPA. 310-5 The Arts in Context: The Renaissance
FPA. 312-5 The Arts
in
Context: Baroque and Enlightenment
EPA. 313-5 The Arts in Context: Romanticism
EPA. 314-5 The Arts in Context: Modernism
EPA. 315-5 The Arts in Context: The Contemporary Period
One of: EPA. 382-3 Aesthetics of Performance
EPA. 384-3 Criticism of Performance
Plus 5 additional hours in FPA courses which may include general electives
in Dance.
0
.
12
.
V. ?
THE DANCE MAJOR
A. ?
RATIONALE FOR THE PROPOSED DANCE MAJOR
The dance major has been reorganized so that the basic thrust
of the program is preserved and strengthened. At the core of the
reorganization is a restructuring of studio work which emphasizes
common principles underlying various movement techniques in tandem
with creative work and critical discourse. To accomplish this,
movement fundamentals and ballet are integrated into the contemporary
dance courses. Consequently, all 6 ballet courses are eliminated as
separate areas of study. This reduces costs
in
the dance program
signi f cantly.
With the reduction from 30 to 25 required hours at the lower
division, dance students are encouraged to explore other art disciplines,
and are freer to choose courses outside the Centre. Changes in upper
division requirements insure that students receive coherent instruction
in composition and theory which will better prepare them for the
independent creative work which has given the dance program its unique
character. The theoretical component at the upper division is further
strengthened by the transformation of the twentieth century dance history
course (currently FPA 128) toa more advanced course at the third-year
level. Changes in prerequisites for dance history and dance movement
analysis make these courses more available to the wider University
communi ty.
Note: ?
The Department remains committed to requirements outside the
Centre for the Arts, but awaits negotiations with the Faculty of Arts
relative to their requirements.
0
.
11
IV. ?
DISCONTINUATION OF DISCIPLINARY MINOR PROGRAMS
A Proposal for the Further Development of the Centre for the Arts
was approved in principle by SCAP in 1981. Within that document were
proposals for the future implementation of Major programs in Visual Art,
Film, and Theatre. In fact, the Visual Art Major Program received approval
by U.C.B.C. in 1982, subject to funding. By proposing this plan for
curricular reorganization, the Centre is abandoning its previous goals
and objectives - including the expansion of the Visual Art, Film, and
Theatre minor programs into major programs - in favour of a smaller,
more compact academic program surrounding the Dance Major, the FPA Major,
and an EPA minor.
We have always recognized that our minor program requirements were
anomalously large in comparison to others in the University. These minor
programs, being no longer conceived as building blocks towards major
programs, have been restructured as concentrations with reduced requirements
which have no added costs and, in some cases, reduced costs.
It would be confusing to retain the term "minor programs" in reference
to the newly designed concentrations. Also, the Centre cannot afford to
retain the current minor programs in addition to the concentrations. It
is thus proposed that the minor programs in Dance, Film, Music, Theatre
and Visual Art be dropped from the Calendar and that the concentrations
outlined above be substituted in the Fine and Performing Arts major for
the minor requirements. It is also imperative that the specific disciplinary
concentrations be noted on student transcripts, much in the way that
recognition was given previously to the disciplinary minors on student
transcripts.
0
10
.
III. PROPOSED NEW FINE AND PERFORMING ARTS MINOR
P1TTflNL\t
The program here represented is very similar to several other minors
within the University in its number of course hours and in its flexibility.
It is intended to accommodate those students who wish to take some particular
portion of the Centre's offerings as a secondary emphasis. To date, students
have had the minors as their only option for disciplinary degree recognition.
The introduction of such a program will attract those students who wish to
take the minimum 29 credits required but who are not able to take the more
rigorous FPA major. The integration of theory and studio courses is maintained
through the requirements of a context course at the upper division and a studio
course at the lower division.
Lower Division Requirements
. ?
A minimum of 12 hours in FPA courses, which must include at least
one studio course.
Upper Division Requirements
A minimum of 17 hours in EPA courses, which must include at least
one of The Arts in Context courses: FPA. 310-5, 312-5, 313-5,
314-5 or 315-5.
0
9
D. ?
CURRENT REQUIREMENTS FOR EPA. MAJOR (for Reference)
Lower Division Requirements
At least 24 credit hours in EPA courses. These courses
must include the prerequisite credits for any one of the Minor
programs within the Centre for the Arts.
Upper Division Requirements
Students must complete 38 hours of credit in approved
courses as follows:
1. At least 18 hours credit must be obtained from EPA
courses numbered 300 and above, within one of the
disciplines of dance, film, contemporary music,
theatre or visual art. These courses must include
all disciplinary requirements for one of the Minor
programs within the Centre. Note that such courses
may not count toward both a Minor program and a Fine
and Performing Arts Major.
2. ?
At least 12 hours c'edit must be obtained from along
EPA courses numbered 300 and above, but outside the
discipline in which the student chooses to concentrate
his or her work. ?
These may include seminar or studio
courses in another discipline or interdisciplinary
courses.
3. ?
At least 8 additional ?
hours, as co-requisite credit,
must be obtained from courses approved as directly
related to the student's Major program of study.
These courses may be from within or outside the
Centre for the Arts.
The approval of specific courses within the above
guidelines will
?
be at the discretion of a departmental ?
faculty
advisor, who will
?
act in consultation with other faculty as
appropriate. ?
The intent of the advisory system is to insure
that each Major undertakes a coherent program of study in the
fine and performing arts.
?
Students are responsible for
obtaining prior approval of their programs in accordance
with departmental ?
procedures. ?
Before approaching the
departmental ?
faculty adviser, each student should give some
thought to the range of courses and projects that will
constitute his or her program, detailing both a focus of
study and an extension from that focus.
In addition to these specific requirements, ?
students' ?
programs
must fulfil ?
the following general requirements:
?
120 semester hours of
credit, 45 of which must be in upper division courses and 24 of which
must be completed in courses outside the Centre for the Arts.
4. CONCENTRATION IN THEATRE
Lower Division Requirements
A minimum of 15 hours, including:
All of: EPA. 250-3 Acting I
EPA. 251-3 Acting II
FPA. 254-3 Theatre Laboratory I
FPA. 255-3 Theatre Laboratory II
One of: FPA. 150-3 Basics of Theatre
EPA. 170-3 Introduction to Technical Theatre
Note: Students normally will take FPA. 250-3 and EPA. 254-3 concurrently,
and EPA. 251-3 and EPA. 255-3 concurrently.
pper Division Requirements
A minimum of 15 hours, including:
All of: FPA. 350-3 Acting III
EPA. 351-3 Acting IV
EPA. 354-3 Theatre Laboratory III
EPA. 355-3 Theatre Laboratory IV
8
One of: FPA. 352-3
EPA. 353-3
EPA. 456-3
Note: Students non
and EPA. 351-3 and
Playmaking
Playmaking
Conceptual
nally will
EPA. 355-3
III
IV
Approaches to Drama
take EPA. 350-3 and EPA. 354-3 concurrently,
concurrently.
5. CCNCENTRATION IN VISUAL ART
Lower Division Requirements
A minimum of 15 hours, including:
All of: EPA. 160-3
EPA. 167-3
FPA. 260-3
EPA. 261-3
One of: EPA. 161-3
EPA. 163-3
Introductory Studio in Visual Art I
Introduction to the History of Modern Art
Studio
in
Visual Art I
Studio in Visual Art II
Introductory Studio in Visual Art II
Issues in Spatial Presentation
Upper Division Requirements
A minimum of 15 hours, including:
EPA. 360-3 Studio in Visual Art III
EPA. 361-3 Studio in Visual Art IV
.
?
?
EPA. 366-2 Problems in Visual Art I
EPA. 367-2 Problems in Visual Art II
EPA. 460-5 Studio in Visual Art V
Upper Division Requirements
A minimum of 17 hours in Film from the following:
EPA. 330-3 Craft of Film II
9 hours from the following:
FPA. 331-3 Craft of Film III
EPA. 332-3 Scriptwriting and Dramatic Direction
FPA. 334-3 Film Analysis
EPA. 339-3 Selected Topics in Film
5 hours from the following:
EPA. 436-5 Advanced Topics in Film Studies
EPA. 430-5 Advanced Film Production
EPA. 431-5 Experimental Film Production
3.
?
CONCENTRATION IN MUSIC
Lower Division Requirements
A minimum of 15 hours in Music from the following:
EPA. 143-3 Concepts of Musical Style
12 hours from the following:
.
EPA. 140-3
EPA. 141-3
FPA. 147-3
FPA. 240-3
EPA. 245-3
EPA. 249-3
CMS .258-3
Introduction to Contemporary Music
Introduction to Music Performance
Introduction to Electroacoustic Music
Contemporary Music Performance I
Music Composition I
Selected Topics in Music I
Introduction to Electroacoustic Communication
but which must include:
at least one of EPA. 141-3 or EPA. 240-3
at least one of EPA. 140-3 or EPA. 245-3
at least one of EPA. 147-3 or CMNS 258-3
Upper Division Requirements
A minimum of 15 hours chosen from:
EPA. 340-3 Contemporary Music Performance II
EPA. 344-3 Contemporary Music Analysis & Criticism
EPA. 345-3 Music Composition II
EPA. 347-3 Electronic Music Composition & Performance
FPA. 348-3 Computer Music Composition
EPA. 349-3 Selected Topics in Music II
EPA. 448-5 Directed Study in Music I
EPA. 449-5 Directed Study
in
Music II
CMNS.358-3 Sound Tape Recording
CMNS.483-5 Directed Study (Acoustic Communication)
C. ?
PROPOSED DISCIPLINARY CONCENTRATION REQUIREMENTS FOR THE FPA MAJOR
1. ?
CONCENTRATION IN DANCE
.
Lower Division
A minimum of 16
EPA. 122-4
FPA. 123-4
EPA. 220-4
EPA. 221-4
Regui rements
hours in Dan
Contemporary
Contemporary
Contemporary
Contemporary
ce, including:
Dance I
Dance II
Dance III
Dance IV
pper Division Requirements
A minimum of 16 hours selected from the following:
EPA. 320-5 Contemporary Dance V
EPA. 32-5 Contemporary Dance
EPA. 324-3 Dance Composition II
EPA. 328-3 History of Dance: The 20th Century
EPA. 420-5 Contemporary Dance VII
FPA. 421-5 Contemporary Dance VIII
EPA. 423-5 Directed Studies in Choreography
EPA. 424-5 Directed Studies in Dance Performance
EPA. 425-5 Intensive Studies in Dance
EPA. 426-3 Dance/Movement Analysis
EPA. 429-5 Directed Studies in Dance Research
2. CONCENTRATION IN FILM
Lower Division Requirements
A minimum of 15 hours in Film, including:
All of: FPA. 230-3 Craft of Film I
EPA. 232-3 Scripting I
EPA. 234-3 Introduction to Film Theory
One of: EPA. 136-3 History and Aesthetics of Cinema I
EPA. 137-3 History and Aesthetics of Cinema II
One of: FPA. 136-3 History and Aesthetics of Cinema I
EPA. 137-3 History and Aesthetics of Cinema II
EPA. 163-3 Issues in Spatial Presentation
EPA. 233-3 Video Production
0
2. Upper Division Requirements:
A minimum of 31 hours in upper division EPA courses, to include:
i)
A minimum of 16 hours as follows:
a) 5 hours from a course in The Arts in Context Series
(FPA. 310-5, 312-5, 313-5, 314-5, or 315-5)
* b) 5 hours derived from the following:
EPA. 379-5,382-3, 384-3 or 489-5. FPA.388-3 or
389-5 also may be used with Departmental permission.
c) 6 additional hours from courses outside the
discipline of concentration.
ii)
A minimum of 15 hours of courses within the chosen
disciplinary concentration as required by individual
areas and listed below.
*Information Note
EPA. 379-5 Selected Topics in Fine and Performing Arts II
EPA. 382-3 Aesthetics of Performance
EPA. 384-3 Criticism of Performance
EPA. 489-5 Interdisciplinary Project in Fine and Performing Arts
FPA. 388-3 Directed Studies in Fine and Performing Arts I
EPA. 389-5 Directed Studies in Fine and Performing Arts II
.
0
4
I
II. ?
THE FINE AND PERFORMING ARTS MAJOR
A. RATIONALE FOR THE PROPOSED EPA MAJOR AND DISCIPLINARY CONCENTRATIONS
The revised FPA Major realizes a balance between disciplinary work
and EPA course work outside a student's discipline. At the lower division,
students will gain experience outside their selected concentration in both
theory and studio courses. At the upper division, the required 31 hours
of EPA course work are balanced between courses within the discipline of
concentration and outside the chosen discipline. Such a program maintains
sufficient and substantive emphasis within the disciplines and provides
in
a unique and exciting way for the exploration and investigation of other
art forms. This combination enhances the experience and artistic range of
our students and ensures a foundation for interdisciplinary experimentation.
The essential combination of theoretical and critical work with studio work
is further strengthened in this proposal. We believe that the academic
integrity of the Centre's offerings are retained
in
this EPA Major and that
the interconnections and interdependencies of the various disciplines are
more clearly and coherently defined.
Note: The Department remains committed to requirements outside the Centre
• ?
for the Arts, but awaits negotiations with the Faculty of Arts relative to
their requirements.
B.
PROPOSED EPA MAJOR
1. Lower Division Requirements:
A minimum of 24 hours in EPA courses which must include:
i)
9 hours of courses outside student's chosen
disciplinary concentration, including:
a) EPA. 111-3 or one disciplinary history or
critical course.
h) one studio course
ii)
A minimum of 15 hours of courses within the chosen
disciplinary concentration as required by individual
areas and listed below.
0
A-5
.
EPA. 232-3 ?
SCRIPTING I
RATIONALE: ?
This course will introduce students to the conceptual
attributes of filmmaking without so intensive a
technological component as 132-3, which is being
dropped from the Calendar. Creative abilities will
be developed
in
preparation for production courses
in
film.
17J
I.NA1 t. (.UI1NLt L
.r.
V14 IJ1
III.ttI..IIUJtiA It. ?
£
L'I)I ?
A-4
NEW COURSE PROPOSM. FORi
1.
calendar Information
?
Department:
CENTRE FOR THE ARTS
Abbreviation Code:
EPA. ?
Course Number:
?
232 ?
Credit flours:
3
Vector:
3-0-3
Title
of
Course: ?
SCRIPTING I
Calendar DecrLption
of Course:
This course will introduce students to structuring films of all genres, not
only dramatic writing. The material qualities of the medium, as well as its
historical manifestations, will be analyzed through class lectures, screening
of films, and exercises in writing and other media.
Nature of Course
seminar
Prerequisit es
(or special instructions):
Permission of the Department through interview is required. Limited entry.
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
FPA. 132
2.
Scheduling
How frequently will the course be offered?
once a year
Semester in which the course will first be
offered? Fall 1985 (85-3)
Which of your present faculty would be available to make the proposed offering
possible? ?
Patricia Gruben, Al Razutis
3.
ObjectivesoftheCourse
To spark the visual/auditory imagination before undertaking intensive technical
studies in filmmaking.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty ?
no additional faculty
Staff
NONE
Library
Audio Visual
Space
Equipment
5.
Approval
Date:_______________________
19 March, 1985
?
,.
• ?
/ment/ma
?
- .
1..
?
-
Chairman, SCUS
.
.
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
A-3
Course Outline
FPA. 163-3
? ISSUES IN SPATIAL PRESENTATION
?
10
An interdisciplinary studio course concentrating on ideas of spatial
perception, modification, and installation as they generally apply to
the Arts. The various processes and procedures of visual forming and
spatial articulation will be examined and realized, from the concep-
tualization and drawing of perspective plans to methods of scaling,
projection, and photographic enlargement, to construction and mani-
festation in actual space.
After a series of introductory lectures on how to approach the problems
of spatial presentation through each medium, students will work on a
number of projects on an individual or group basis (depending on complexity).
Students may work in a variety of media ranging from video, film,
photography, slides, perspective drawings, projections, maquettes and
models, to realize their projects. Student projects will be thoroughly
discussed in class critiques.
The course will meet twice weekly and is designed to accommodate students
interested in the general considerations of spatial presentation that
affect all the arts and their audiences.
PRE-REQUISITES: ?
Permission of the Department.
?
.
REQUIRED TEXTS:
?
Dan Graham: Video Architecture Television:
writing on video and video works 1970-1978,
NSCAD/NYIJ Press, 1979.
COURSE REQUIREMENTS: ?
Students will be evaluated on the following:
1.
Their creative response to the issues raised
in assigned projects and/or independent work.
2.
Their demonstrable development of technical
abilities and knowledge within the context
of the course.
3.
Their participation in the critical discussions.
S
A-2
EPA. 163-3 ?
ISSUES IN SPATIAL PRESENTATION
RATIONALE: ?
At present there is no course within the Centre for
the Arts which deals specifically with the concerns
of spatial presentation as they relate to filmmakers,
video, sculpture, installations, or set design.
This course will provide a solid background in these
concerns at the lower division, and provide useful
skills for students in the visual art, film and
theatre areas.
.
[IJ
0
L-/
L
I I I ' - ^
,
X
Ddpa
rtment C airman
5.
Approval
Date:
19 March, 19B5
Chairman,
SCUS
SENATE COMMITTEE ON UNt)ERCI(ADUATK STUDIES
?
A-i
NEW
COURSE PROPOSAl. FOR1
1.
Calendar
Information
?
Department:
CENTRE FOR THE
AR9
Abbreviation
Code:
FPA.
?
Course Number:
?
163
?
Credit hours:
3 ?
Vector:
006
Title
of Course:
ISSUES IN SPATIAL PRESENTATION
Calendar Description of Course:
An interdisciplinary studio course concentrating on ideas of spatial perception,
modification and installation, as they generally apply to the arts. From
conceptualization and drawn perspective plans, to methods of scaling, projection,
and construction and manifestation in actual space.
Nature
of Course
studio
Prerequisites (or
special instructions):
permission of the Department
What course (courses), if any, is being dropped from the calendar if this course is
approved:
2.
scheduling
How
frequently will the course be offered?
once
a
year
Semester in which the course will first be offered?
Spring
1986
(86-1)
Which
of your present faculty w
ould
be available to make
the
proposed offering
possible?
?
Greg Snider, Jeff Wall, David MacWilliam
?
0
3.
Objectivesof
theCourse
To familiarize students with issues of spatial composition, arrangement and
installation, as they affect audiences through a process of artistic intention
within a variety of artistic media including film, theatre, and sculpture.
This course is designed to accommodate students interested in the general
consideration of spatial presentations that affect all the arts and their
audiences.
4.
BudgetaryandSpace
Requirements
(for information only)
What additional resources will be required in
the
following areas:
Faculty
?
no
additional faculty
Saf
I
Library
Audio Visual
NONE
Space
Equipment
SCUS 73-34b:-
(When completing this form, for instructions
see
Memorandum SCUS 73-34a.
U
APPENDIX I
?
PROPOSALS FOR NEW FPA. COURSES
FPA.
163-3
Issues in Spatial
?
Perception
EPA. 232-3
Scripting I
FPA. 233-3
Video Production
EPA.
267-2
Introduction to Critical Theory in Visual Art
FPA. 330-3
The Craft of Film II
FPA.
439-5
Directed Studies in Film
EPA.
460-5
Studio in Visual Art V
38
Q
0
37
B.
1.
The
Implementation
changes in the
of Program
FPA. major
Changesand
?
the disciplinary concentrations will
0
first appear in the
1986/87
calendar. Students entering the first year
of the FPA. Major program in
1985/86
will be graduating under the new
regulations. A waiver of the
8
month implementation period is requested.
2.
The EPA. Minor program will first appear in the
1986/87
calendar.
A waiver of the
8
month implementation period is requested.
3.
The changes in the Dance Major program will first appear in the
1986/87
calendar. Students entering the first year of the Dance Major program in
1985/86
will be graduating under the new regulations. A waiver of the
8
month implementation period is requested.
4.
The dropping of the minor programs in Dance, Film, Music, Theatre and
Visual Art should not occur until students currently accepted into the
minor programs have completed their programs. The last 'calendar of
record" for entry into the Minor programs will be
1984/85.
Students
currently in the first and second years of the Minor programs who intend
to complete the EPA. Major may indeed see the option of graduation under
the restructured EPA. Major as being the more attractive alternative.
Those students who will be most affected by the dropping of the Minor
programs are those who intend to graduate with a Minor in Dance, Film,
Music, Theatre, or Visual Art and a Major in another Department or a BGS
degree program. In many cases, the EPA. Minor may be the substitute for
the disciplinary minors.
0
MUSIC
1985/86 (waiver of 8 month period requested)
FPA.1 1
+1 change in course description
FPA.1 1
+0 change in prerequisites
1986/87
FPA.142 dropped from calendar
FPA.143 title and course description changed
THEATRE
1985/86 (waiver of 8 month period requested)
FPA.150 change in course description
FPA.252, 253, 352, 353 change in course prerequisites
VISUAL ART
1985/86 (waiver of 8 month period requested)
FPA.267 Introduced as new course
FPA.167 change in course title
1986/87
FPA.163 Introduced as new course
FPA.366 and 367 change in credit hours
FPA.460-5 introduced as new course
FPA.J469 change in course description and prerequisite
36
0
VII PROPOSED IMPLEMENTATION SCHEDULE
A. Implementation of Changes by Study Areas
INTERDISCIPLINARY
1985/86 (waiver of 8 month period requested)
FPA.176 dropped from calendar
FPA.210, 212, 213, 214 and 215 dropped from calendar
FPA.3I0, 312, 313, 314, and 315 changed to 5 credits and prerequisites changed
DANCE
1985/86 (waiver of 8 month period requested)
FPA.125 and 126 dropped from the calendar
FPA.122 and 123 credit hours, vector, and course description changed
FPA.128 moved to upper division and course description and prerequisites changed
FPA. 1
425 course description and prerequisites changed
FPA. 1
426 title, description, and prerequisites changed
1986/87
EPA. 220 and 221 have credit hours, vector, and course description changed
FPA.225, 226, 322, and 323 dropped from the calendar
FPA.320, 321, 420 and 421 have course descriptions changed
FILM
1985/86 (waiver of 8 month period requested)
FPA.132, 133 and 239 dropped from the calendar
FPA.232,
233,
and 439 introduced as new courses
FPA.137 prerequisites changed
FPA.339 course title changed
1986/87
FPA.23
1
4 prerequisites changed
FPA230 course description and prerequisites changed
1987/88
FPA.231 dropped from the calendar
FPA.330 introduced as new course
FP4A.331 prerequisites changed
FPA.332 title, credit hours, and prerequisites changed
FPA.430 and 431 title, course description and prerequisites changed
FPA. 1
132 and 433 dropped from the calendar
35
0
.
4. Change in course prerequisites for The Arts in Context courses:
EPA. 310-5, 312-5, 313-5, 314-5, 315-5.
From: 60 credit hours which must include 6 hours from among
the following: EPA. 111, 127, 128, 136, 137, 140, 142,
143, 150, 166, 167, 210, 212, 213, 214, 215 or courses
from within the Faculty of Arts qualifying as Group A
requirements.
To: ?
45 credit hours which must include EPA. 111 or another
critical or history course within the Centre for the
Arts, or permission of the Department.
Rationale: With the move of the Centre for the Arts to the Faculty of
Arts and the potential changes in faculty group requirements, the current
prerequisites lose their meaning. It remains our intention to make these
courses as widely accessible as is reasonable for students in other
departments.
34
C
33
n
F. ?
INTERDISCIPLINARY
1. Dropping of EPA. 176-3 Photography as an Art Form from the Calendar.
Rationale: The photography course has never been integrated into
Visual Art Or Film programs and there are no plans to do so under
the current restructuring of the FPA major.
2. Dropping of Lo
EPA. 210-6
EPA. 212-6
EPA. 213-6
EPA. 214-6
EPA. 215-6
ion Arts in Context courses:
in Context: The Renaissance
in Context: Baroque and Enlightenment
in Context: Romanticism
in Context: Modernism
in Context: The Contemporary Period
we r Divis
The Arts
The Arts
The Arts
The Arts
The Arts
Rationale: With the new requirements for the EPA major and the elimination
of the minor programs, there are no longer any programs within the Centre
for the Arts which require the Arts in Context courses in the lower division.
The Arts in Context will now be offered only as upper division courses.
3. Change in credit hours and vectors of Arts in Context courses.
From: EPA. 310-6 The Arts in Context: The Renaissance (6-2-0)
EPA. 312-6 The Arts in Context: Baroque and Enlightenment (6-2-0)
FPA. 313-6 The Arts in Context: Romanticism (6-2-0)
EPA. 314-6 The Arts in Context: Modernism (6-2-0)
EPA. 315-6 The Arts in Context: The Contemporary Period (6-2-0)
To: ?
EPA. 310-5 The Arts in Context: The Renaissance (4-2-0)
EPA. 312-5 The Arts in Context: Baroque and Enlightenment (4-2-0)
EPA. 313-5 The Arts in Context: Romanticism (4-2-0)
FPA. 314-5 The Arts in Context: Modernism (4-2-0)
EPA. 315-5 The Arts in Context: The Contemporary Period (4-2-0)
Rationale: In the past, the contact hour requirement of The Arts in Context
courses has been 8 hours. Under the restructured EPA major, these courses
will be taught only at the upper division and the contact hour requirement
will be reduced to 6. It is hoped that this reduction of contact hours will
encourage students from other departments in the University to take advantage
of these unique courses.
0
Rationale: This change is connected with the addition of the new EPA. 267-2
and the changes to EPA. 469. The most successful aspect of these seminars
has been their ability to inform and deepen the critical, atmosphere in
the accompanying studio courses. The systematic and sustained discussion
of central historical and theoretical issues of contemporary art has
also been of great value for the general education of our students, and
for interested and prepared students from other Parts of the University.
With the extension of this system into the lower division with FPA. 267,
we feel that the weight of EPA 366 and 367 can be reduced somewhat.
The two credit-hour requirements remain sufficient for presentation and
debate of course material; the process of integration of this material
and debate into the studio courses is unaltered. Written requirements
will be proportionately reduced. Contact hours will change to one 3-hour
session per week.
6. Change in course description and prerequisite for EPA. 469-5 Directed
Project in Visual Art.
From: An independent guided studio course for students completing a
minor in Visual Art. Students will be expected to complete a
body of planned and approved work. (Independent Studio)
Prerequisites: EPA. 361 and 367 and written permission of the
Department.
To: ?
An independent guided studio course in Visual Art. Students
will be expected to complete a body of planned and approved
work. ?
(Independent Studio)
Prerequisites: FPA. 460 and written permission of the Department.
Rationale: FPA. 469-5 is no longer required for completing the
Visual Art concentration.
32
[1
31
E. ?
VISUAL ART
I. Change in title and course description for EPA. 167-3.
From: EPA. 167-3 Introduction to the History of Art II
A sequel to EPA. 166. An introduction to the history of the
visual arts from the beginnings of the Renaissance around
1400 to the end of the Second World War. A systematic
chronological review of the major works in the Western tradition,
placed in their
so
cial,instjtutional and stylistic context.
Introduction of concepts necessary for analyzing general
historical development in the arts and for analyzing the
meaning of individual works.
?
(Lecture)
Prerequisite: FPA. 166. For students intending to Minor in
Visual Art, it is recommended that this course be taken
concurrently with FPA. 161.
To: ?
FPA. 167-3 Introduction to the History of Modern Art
An introduction to the history of the visual arts from the
beginnings of the Renaissance around 1400 to the end of
the Second World War. A systematic chronological review
of the major works in the Western tradition, placed in their
social, institutional and stylistic context. Introduction
of concepts necessary for analyzing general historical
development in the arts and for analyzing the meaning of
Prerequisite:
individual works.none
?
(Lecture)
Rationale: FPA. 166 is no longer part of the lower division requirements
Tor the Visual Art concentration.
2.
New Course: FPA. 163-3 Issues in Spatial Presentation
See Appendix I for course proposal form, rationale and course outline.
3.
New Course: FPA. 267-2 Introduction to Critical Theory in Visual Art
See Appendix I for course proposal form, rationale and course outline.
4.
New Course: FPAA. 460-5 Studio in Visual Art V
See Appendix I for course proposal form, rationale and course outline.
5.
Change in credits and vectors for FPA. 366-3 and EPA. 367-3
From: FPA. 366-3 Problems in Visual Art 1
?
(2-2-0)
To: ?
FPA. 366-2 Problems in Visual Art I
?
(0-3-0)
From: FPA. 367-3 Problems in Visual Art II (2-2-0)
To: ?
FPA. 367-2 Problems in Visual Art 11 (0-3-0)
.
0
all
•
??
Rationale: This change is designed to relax the prerequisite so that
?
certain students who may be qualified to undertake the specific
theatrical work offered in this course will be permitted to enroll.
The change will make the course more accessible to those students with
a technical theatre background.
5. Change in the prerequisite for FPA. 353-3 Playmaking IV.
From: Admission to EPA. 351. Normally, students enrolling in
this course should take FPA. 351 and 355 concurrently.
To:
?
?
Admission to EPA. 351 and permission of the Department, or?
EPA. 170 and permission of the Department. Normally,
students enrolling in this course should take
FPA.351
and
EPA. 355 concurrently.
Rationale: This change is designed to relax the prerequisite so that
certain students who may be qualified to undertake the specific
theatrical work offered in this course will be permitted to enroll.
The change will make the course more accessible to those students with
a technical theatre background.
.
0
2g
D.
?
THEATRE
1. ?
Change
in course ?
description for EPA.
?
150-3 ?
Basics of Theatre.
From:
A series of lecture and studio sessions which will
?
acquaint
the student both with theory and practice of theatre from
genesis in ritual
?
to present day trends.
?
(Lecture/Studio)
To:
An introduction to theatre.
?
The course will
?
examine the
theory and practice of the theatre from its genesis in
ritual ?
to present day trends.
?
(Lecture)
Rationale:
Changing the format of FPA.
?
150-3 solely to a lecture
course from lecture/studio will
?
strengthen the theoretical component
of the Theatre Area curriculum and increase accessibility to the course.
2. ?
Change
in prerequisite for EPA.
?
252-3 ?
Playmaking I.
From:
Admission to EPA.
?
250. ?
Normally, ?
students enrolling in
this course should take EPA.
?
250 and 254 concurrently.
To:
Admission to EPA. 250 or permission of the Department.
Normally, ?
students enrolling in this course should take
EPA. ?
250 and 254 concurrently.
Rationale:
This
change is designed to relax the prepre
q
uisite so
that certain students who may be qualified to undertake the specific
theatrical
work offered in this course will
?
be permitted to enroll.
3. ?
Change
in the prerequisite for EPA.
?
253-3 ?
Playmaking II.
From:
Admission to FPA.
?
251. ?
Normally, students enrolling in this
course should take FPA. 251 and 255 concurrently.
To:
Admission to EPA. 251 or permission of the Department.
Normally, students enrolling in this course should take
FPA.
?
251 ?
and EPA. 255 concurrently.
Rationale:
This change is designed to relax the prerequisite so that
certain students who may be qualified to undertake the specific
theatrical
work offered in this course will
?
be permitted to enroll.
4. ?
Change
in the prerequisite for FPA.
?
352-3 ?
Playmaking ?
111.
From:
Admission to FPA.
?
350. ?
Normally, ?
studentsenrolljng in this
course should take EPA. 350 and 354 concurrently.
To:
Admission to EPA. 350 and permission of the Department, or
EPA. ?
170 and permission of the Department.
?
Normally, students
enrolling in this course should take EPA.
?
350 and EPA.
?
354
concurrently.
a
?
p
.
28
To: ?
FPA. 143-3 History of Musical Style
A wide range of examples of Western music and that of
other cultures will be studied within an historical
and cultural context, with the aim of defining the
concept of style and understanding its development.
This course will involve substantial exposure to
recorded music as well as lectures and discussion,
Previous musical knowledge or training is not required.
(Lecture/Tutorial)
Rationale: Since this course now includes material from FPA. 142 as well
as from the EPA. 143 syllabus, the emphasis will be changed from a linear
historical approach to one of examining selected musical styles and periods
to communicate the essence of an understanding of music history.
?
The new
description reflects this change.
.
n
27
C .
?
MUSIC
1.
Change in course description for EPA. 141-3 Introduction to Music
Performance.
From: The practical performance skills investigated in FPA. 104
are emphasized, with particular attention to sight singing,
keyboard technique, rhythm exercises and ensemble performance.
The course is designed for students who wish to develop skills
essential to good musicianship in preparation for further
music studies.
?
(Seminar/Studio)
To: ?
This course will continue the development of musical skills
introduced in FPA. 104 with an emphasis on the issues of
contemporary music composition and performance.
(Seminar/Studio)
Rationale: The old description suggests that keyboard technioue, i.e.
piano instruction of some sort, is a component in this course. We
cannot guarantee that this will be the case. The new description better
reflects the function of this course.
2. Change in prerequisite for EPA. 140-3 Introduction to Contemporary
Music.
From: FPA. 104 or equivalent
To: ?
none
Rationale: The course is now being redesigned so as to be available
to a broad range of students from other disciplines in the Centre for
the Arts and other departments in the University.
3.
Dropping EPA. 142-3 Music in History I from the Calendar.
Rationale: In accordance with the plan for revising the music con-
centration within the EPA Major the two music history courses will he
restructured into a single course, EPA. 143-3, and EPA. 142-3 will be
dropped from the curriculum.
4. Change in title and course description for EPA. 143.
From: FPA. 143-3 Music in History II
An introductory study of the major developments in Western
music from the death of J.S. Bach to the present with some
attention to the place of music in society and in relation
to other arts. This course will involve substantial exposure
to recorded music as well as lectures and discussion.
Previous musical knowledge or training is not required.
(Lecture/Tutorial)
Course Outline
?
A-6
EPA. 232-3
?
SCRIPTING I
A pre-production course that introduces the student to the fundamentals
of cinema: its material properties, its spatial and temporal structures,
and its expressive codes. It is intended to prepare students for further
work in both film studies and filmmaking by concentrating on the develop-
ment of critical skills along with an understanding of the elements of
production.
Weekly meetings will consist of lectures with film screenings and critical
discussion of such issues as genre (documentary, narrative, experimental);
niise-en-scene; and technique. In addition, tutorial/lab sessions will
engage in exercises using the various media components of film: still
photography, audio tape, storyboards, and stock footage, as well as
written scripts. Attributes of cinema such as intermittent movement,
photographic chemistry, and montage, will be analyzed through practical
workshops as legitimate concerns, along with drama, ideology, and spectacle,
in 'scripting' an idea for film. At the same time, the technical grounding
obtained through these exercises will form the basis for further work in
production. The development of critical skills is an integral part of the
working process in the course; regular time in the tutorial sessions will
be devoted to the critique of each others' exercises.
PREREQUISITES: ?
Permission of the Department
REQUIRED TEXTS:
?
Gaston Bachelard, Poetics of Space.
Sergei Eisenstein, Film Form and The Film Sense.
Cleveland: The World Publishing Company, 1957.
COURSE REQUIREMENTS: ?
Students will be evaluated on the following:
1.
The imaginative and diligent performance of
workshop assignments in and outside of class.
2.
Mastery of technical skills in writing and
manipulation of the various.audio-visual media
employed in the exercises.
3.
Involvement in the critical discussions of
their own and others' work.
0
SENATE COKM!.TTEE ON JNI)ERC1A1)UATE STUDIES
?
A-7
NF2i COURSE PROPOSAL. FORM
1.
Calendar Information
?
Department: CENTRE FOR THE ARV_
Abbreviation Code;
?
FPA.
Course
Number: 233 ?
Credit Hours: 3
?
Vector: 2-0-4
Title of Course: VIDEO PRODUCTION
Calendar Decription
of Course:
This course will emphasize the acquisition of craft skills, as well as the
creative use of the medium. Students will learn to shoot and edit in both
1/2"
and 3/4" formats, and to work in groups in developing ideas for visual
production.
Nature of Course production
Prerequisites
(or special instructions):
6 hours credit in EPA., and permission of the Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved: ?
EPA. 133
2.
Scheduling
How frequently will the course be offered? once a year
Semester in which the course will first be offered? Spring 1986; thereafter in Fall
Which
of your present faculty would be available to make'the proposed offering
possible?
?
Al Razutis
3.
Objectives of the Course
To teach a basic competency with the tools of video; and to introduce
students to kinetic and visual aesthetics.
4.
Budgetary and SpaceRequirements (for information only)
What additional
resources will be required in the following areas:
Faculty ?
occasional technical assistance from lab instructor.
Staff
Library
Audio Visual
Space ?
NONE
Equipment
5. Approval
Date: ?
l March, 1985
bi
—
pari
-
ment hairman
LIip
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
.
A-8
FPA. 233-3
?
VIDEO PRODUCTION
RATIONALE:
?
This course will fill a critical need felt in the
Centre for the Arts and beyond, to obtain a critical
and technical comprehension of a medium playing an
increasingly significant role in contemporary culture.
.
0
?
Course Outline
?
.
EPA. 233-3
?
VIDEO PRODUCTION
This course will introduce students to the various craft skills of
video production and allow for an exploration into the many applications
of contemporary video. Student production of ½" and 3/4" videotape
pieces will be coordinated within a broader context of video art and
experimental technologies.
The following major areas of concern will be covered in production
and seminar sessions:
1.
Studio production in video: including the employment of
multiple camera techniques in a dramatic format.
2.
Documentary and investigative video.
3.
Music video: a contemporary interdisciplinary genre.
4.
Fine Art video: conceptual and structural experiments with
video as a formal mode of expression.
5.
Special effects and computer-assisted video: synthetic
video and digital effects.
Seminar activities will focus on the above areas by presenting examples
drawn from art and industry. The course will aim for a critical understanding
of video as medium, communications technology, production method, and
vehicle for socialization and propaganda.
Labs will meet twice a week, with seminars every other week.
PREREQUISITES:
?
Permission of the Department.
TEXTS: ?
TBA
REQUIREMENTS: ?
Each student will be required to play a major role in
the production of tapes in one of the above areas, and
to participate actively in the critical seminars.
.
NIV
U COURSE
.
PROPOSAL. FORM
S
.
1.
Calendar Information
?
Department: CENTRE FOR THE ARTS
Abbreviation Code:
EPA.
?
Course Number:267
?
Credit Hours: 2
?
Vector:
-
0-3-0?
Title of Course: INTRODUCTION TO CRITICAL THEORY IN VISUAL ART
Calendar Decription of Course:
This seminar course introduces issues and methods of critical analysis in the
context of contemporary art. Emphasis is placed on the development of a
critical language adequate to the theoretical problems posed by the developments
of contemporary art and its relations with the broader notion of culture.
Nature of Course seminar
Prerequisites (or special instructions):
Admission to EPA. 261
or written permission of Department.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
2.
Scheduling
How frequently will the course be offered? once a year
-.- - ?
- ?
£J_...
t_. ?
_e_.,..
Semester in
WfliCfl
tne course
WILL iirs oe uILcrea:
Spring 1986 (86-1)
Which of your present faculty c.u1d be available to !nike the proposed offering
possible? ?
Greg Snider, David MacWilliam, Jeff Wall
3.
ObjectIves of the Course
To introduce issues and methods of critical analysis, and to develop a
critical language adequate to the discussion of theoretical problems
related to contemporary art.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be required in the following areas:
Faculty
?
no additional faculty
Staff
Library
Audio Visual
?
NONE
Space
Equipment
Chairman, SCUS
S
5. Approval
Date: ?
19 March, 1985
, ZDearcment Thairtnan
JYT'
'
a
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
EPA. 267-2 ?
INTRODUCTION TO CRITICAL
THEORY IN VISUAL ART
RATIONALE: ?
This course will allow us to introduce and integrate
theoretical issues as they relate to the practice of
contemporary art, in a more thoughtful and consistent
way than they are currently being presented in the
lower division. It will also allow us to expand the
discussion of these issues over 3 semesters and pro-
vide more background and familiarity of ideas being
discussed in the subsequent EPA. 366 and 367 seminars.
It will also allow us to reduce the weight of two 3rd
year theory courses somewhat. We feel the two credit
hour requirement remains sufficient for the presenta-
tion and debate of course material over all three
(EPA. 267, 366, 367) courses.
A-li
.
0
Course Outline
?
A-1 2
FPA. 267-2 ?
INTRODUCTION TO CRITICAL THEORY IN VISUAL ART
This seminar course introduces issues and methods of critical analysis
in the context of contemporary art. The course is intended primarily
for students working concurrently in FPA. 261, but is open to others as
well. Emphasis is placed on the development of a critical language
adequate to the theoretical problems posed by contemporary art and its
relations with other areas of culture, including the mass media, state
institutions and education. Assigned readings are discussed in connec-
tion with specific works in order to develop a critique in the presence
of works of art.
The course will open with a series of lectures, setting out the semester's
general areas of study. In addition to the assigned readings, students
will be expected to arrive at a specific topic of study as it relates to
their own studio interests. This topic of study will be researched and
an essay will be written and presented for discussion. The essay may
deal with the work of a single artist,or with historical and theoretical
issues as they relate to specific works.
The course meets
tion of material
discussion. Wri
ical procedures,
PRE-REQUISITES:
REQUIRED TEXTS:
once weekly; one half the session is devoted to presenta-
and issues by the instructor, and the other to class
tten assignments permit students to carry out basic analyt-
and to formulate critique in prose.
It is recommended that students take EPA. 261 concurrently.
Theories of Modern Art, ed. H. B. Chipp
Modernity and Modernism, ed. Charles Harrison and
Francis Frasci
COURSE REQUIREMENTS: Students are expected to present one paper during
the semester. Subject areas will be decided in
the first two weeks of classes. The paper will
constitute 60% of-the course grade, with partici-
pation in class discussion the remaining 40%.
0
SENATE COMMITTEE ON UNIERc.RADUATE STLIDTES
?
A-13 ?
NF.'W
COURSE PROPOSAL. FOR}t
1.
Calendar information
?
Department:
CENTRE FOR THE ART
Abbreviation Code:
EPA. ?
Course Number:330
?
Credit hours:
3
Vector:
2-n-
Title of Course:
f
THE CRAFT OF FILM II
Calendar Description
of Course:
An intensive study of the crafts of filmmaking, with emphasis on production
planning, creative development, shooting and editing short films. Introductions
to the techniques of filmmaking will be accompanied by exercises in their
creative application.
Nature of Course
production
Prerequisites (or special instructions):
EPA. 230-3: The Craft of Film I. Students with credit for FPA. 231 may
not take EPA. 330 for further credit.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
EPA. 133-3 and FPA. 231-3, The
Craft
of Film II. The new course will be
the second in a series of three production courses.
2.
Scheduling
How frequently will the course be offered?
once a year
Semester in which
the course will first be offered?
?
Fall 1987 (87-3)
Which of your present faculty
would
be available to make the proposed offering
possible? ?
Al Razutis, Patricia Gruben
?
0
3.
Objectives of the Course
To continue on the course set in The Craft of Film I in developing the
student's aesthetic and technical facility.
4.
Budgetary and Space Requirements (for information only)
What additional resources will be. required in the following areas:
Faculty
?
no additional faculty?
S aft
Library
?
NONE ?
Audio Visual
Space
Equipment
5.
Approval
Date:
?
.19-March, 1985
?
g2_7
(Øf.4a_
_'
S
?
-
7 \/\ZJ
?
partinent Mairman ?
Dean
?
Chairman, SCUS
A-14
S
S
EPA. 330-3 ?
THE CRAFT OF FILM II
RATIONALE:
?
This course is an intensive technical and conceptual
preparation for group film productions to be undertaken
in the following course, FPA. 331-3. As such, it is an
integral component of the film production stream.
n
0
Course Outline
EPA. 330-3 ?
THE CRAFT OF FILM II
This is the second in a proposed three-semester series of courses in
the craft of filmmaking. It assumes a basic familiarity with the
technology of 16mm. film production, and some conceptual experience
with film.
The course requires students to participate in a series of exercises
and group projects designed to further augment their skills in film
craft, including cinematography, lighting, sound recording, script
development, production planning, and editing. Other aspects of film
production, including performance, musical scoring, optical effects,
titling, art direction, and laboratory processes, will be dealt with
in lectures, film screenings, demonstrations, field trips, and
practical work. The course will balance the acquisition of skills with
consideration of theoretical and aesthetic issues related to film.
Students will form groups to develop script ideas for production to
take place in the subsequent course, FPA. 331-3.
A-15
COURSE REQUIREMENTS:
FPA. 230-3: The Craft of Film I. Students with
credit for FPA. 231-3 may not take EPA. 330 for
further credit.
Edward Pincus, Filmmakers' Handbook, 1984.
Roger Crittenden, Film Editing, 1982.
Alan J. Ritsko, Motion Picture Lighting, 1981.
Students will be evaluated on the following:
I. Acquisition of technical skills, as
demonstrated in class exercises and
performance on a technical exam at the
end of term.
2.
Creative and conceptual abilities, as
demonstrated in camera, sound and editing
assignments and script development.
3.
Participation in class discussion and
critique, and in group exercises.
PREREQUISITES:
REQUIRED TEXTS:
n
r
SF
I
NAT
Y
.
COMIT1EF ON
?
SITUDIFS
?
A-16
• ()
?
NEW
PROPOSAL.-
couis:
HiIUI
'ni
enda
r
Inforat
ion
?
Department;_
CENTRE FOR THE ARTS
•T1le of Course:
DIRECTED STUDIES IN FILM
;\bbrviatiofl Code:
FPA. ?
Courtie. Number :_
?
- CreditHours:
?
5 ?
Vector:
0-3-5
(lcnd.0 Deccrpcien of Cotir;C
An independent production course for students completing a concentration in film.
.
-
tre of Couri;
?
production
i qu
itt3
(or tpec
1al
ths t. ric ii ons)
F
PA 430 or 431
course (courses),
If
any, is being dropped rom the ca1enar if this cour;t 1.
EPA.
432 and 433.
Now frequently
will
the course e offered
?
as reouired
Sc.nestcr
in
which 0-le course will first be of f.:red?
?
Spring
1986 (86-1)
1ch of your present faculty .''u1
:
be availab ?
to make the proposed ouferin;
possible?
?
Patricia Gruben, Al Razutis
..
Objectives of the Course
To give the exceptional student an opportunity to pursue advanced
studies in film production.
Budgetary and SpceR
?
& ?
(for
infoirnation only)
hat additional
rcnourccJ will be required I *-he
following
;Areas:
Faculty
?
no additional faculty
Staff
Library
Audio
V18u81
?
NONE
Space
Lqu
ipnent
?
Access to film production equipment currently available to
upper-level students.
5 !PE.9.Yi!
?
10 M arch, 1 P85
?
4
,-
Da
-
?
Dean
?
r
?
us
4.
j
3-34b : -
(When cornplc
t tng
ti iii
form, for
1n' t ruc
t ?
J
tick:
Mcr.urandu
?
;ci;'01-34a.
4 ?
0 ?
P
A- 17
.
EPA. 439-D ?
DIRECTED STUDIES IN FILM
PATiONA[: ?
With the dropping of EPA. 432 and 433, the second semesters
of advanced film production, from the calendar, there needs
to be an opportunit y
for.e.xceptional students to undertake
further exploration of the variety of cinematic possibilities
available. No
p
re-structured curriculum can accommodate the
wide range of possible avenues for study and production in
film. This course can provide the flexibility to explore a
plethora of interests from documentary research to the use
of experimental technologies.
r
L
N
?
A-18
Course Outline
EPA.
439-5 ?
DIRECTED STUDIES IN FILM
This course will provide the flexibi lity within the fi un concentration
for students to undertake advanced training on an individual basis.
This training may take place in film studies, scriptwriting, production,
or a combination of these.
A contract between student and instructor will be drawn up before the
course is approved. The work done by the student, must represent a
demonstrable advance beyond the training received in regularly offered
courses.
Examples of possible projects:
1.
Intensive research and develo
p
ment of a ½ hour project for a
documentary or dramatic film.
2.
Investigation and application of new technologies in film or
video production, perhaps in conjunction with other areas of
the University.
3.
Production of a short film with funding from outside the film
Program, but under the creative control of the student, and
direct faculty supervision.
4.
Participation in a scriptwriting/dramatio development workshop
with professionals.
5.
Critical/theoretical study leading to the writing of a publishable
pape
r.
6.
Continuation of filmmaking projects undertaken in EPA.
130
or
431,
which were
on a scale too complex to be completed in one semester.
PREUiITES:
?
EPA. 430 or 431, and permission of the Department.
REQUIREMENTS: ?
A student must present a written proposal to gain
approval for the course. A faculty member must
agree to supervise the student through the completion
of the project. Performance will be evaluated in
terms of the student's success in meeting the terms
laid out in the contract between student and
instructor.
0
4
S q -
SENATE COMM111U ON UNI)LRGRADUATE STUDIES
A-l9
NEW COURSE PROPOSAL. FORH
I. Calendar Information
?
Department: CENTRE FOR THE ARTS
Abbreviation
Code:
EPA. ?
Courte Number:
?
460 ?
Credit
Title i
f
Course:
?
STUDIO IN VISUAL ART V
Calendar Description of Course:
This course per
mitsstudents completing their program in Visual Art to work in
an open and critical interdisciplinary studio situation. Students propose an
independent programof work in the media of their choice at the beginning of the
semester and develop it in critical dialogue with the instructor.
Nature of Course
Prerequisites (or special instructions):
EPA. 361 and 367 and written permission of the Department.
What course (courses), if any, is being dropped from
the
calendar if this course
is
approved:
2.
Scheduling
?
-
11o' frequently will the course be offered? once a year
Semester in which the course will first be offered? Fall 1985 (85-3)
Which of your present faculty wQul be available to make the proposed offering
possible? ?
David MacWilliam, Jeff Wall, Greg Snider
3.
ObjectivesoftheCourse
Each student is expected to complete an exhibitable body of work during
the course.
4.
Budgetary
.
and SpaceRequirements (for information only)
What additional resources will be required in the following areas:
Faculty ?
no additional faculty
Staff
Library
Audio Visual
Space
?
NON I
Equipment
.
5. Approvnl
I )
?
Ia rch
Date: ?
I _)!
-V
/
/-
-V
Department Chairman
''2 ?
V
?
S
Dean ?
-
?
Chairman, SCUS
SCUS 73-34b:-- (When completing this form, for instructions see Memorandum SCtJS 73-34a.
A- 0
S
p
EPA. 460-5 ?
STUDIO IN VISUAL ART V
This course restructures the fourth year within the
Visual Art concentration. By establishing a
regular class structure for 4th year work, it
permits the continuation of group discussion of
theoretical flatters characteristic of FP/\. 366
and 367. Under the previous system of individual
directed studies, group discussions did not take
place on a regular basis. The new system, by
extending the development of theory and group
critique across four semesters, creates a better
balance and permits the lightening of the third
year load without jeopardizing the positive aspects
of the studio-seminar system.
.
0
. ?
'I
Course Outline
?
A-21
FPA. 460-5 ?
STUDIO IN VISUAL ART V
This course permits students completing their program in Visual Art
to work in an open and critical interdisciplinary studio situation.
Students will propose an independent proqr;m of work in the media
of their choice at the beginning of the semester and develop it in
consultation with the instructor. Each student is expected to
complete an exhibitable body of work during the course.
The student is required to complete a number of works in the medium/
media of hisor her choice, meeting a series of deadlines established
by the instructor. All work must be completed and prepared for view-
ing to public exhibition standards. Group critiques will be held, to
which students are expected to bring a well-grounded critical and ana-
lytical vocabulary. Critical and theoretical issues raised by the
student's work will be analyzed systematically. The function of these
discussions is to develop the student's awareness of the relation of
his or her own work to the significant issues in contemporary art.
PRE-REQUISITES: ?
EPA. 361 and 367 and written permission?
of the Department.
COURSE REQUIREMENTS: Evaluation is made on the basis of the student's
total response to the working situation of the
studio and the critical discussion. Students
are required to meet deadlines. Assessment is
made of completed work and of the demonstrated
development of both technical ability and
creative treatment of chosen material.
SiMON FRASER UNIVERSITY
?
F. Sc. er-q
MEMORANDUM
Ofo .......... A..y.ciiM.r.sn
Faculty of Science
•
?
..........
Subject ......
.
P.9?.9E.P.
?
M1?P..(?k
S
...........
TO PHYS. CHEM. GRAD. COURSES
From .......
T
• .N.. .
?
ç1irma.
Graduate Studies Committee
Pcp.tnt
.
mistry .
Date ........
December 19, 198.
File: C4118,D51
This memo is to clarify the recently proposed course changes in physical
chemistry with respect to the points you have raised.
The course numbering reflects, to some extent, the rationale for the changes
made. Thus, 860 is the foundation course and the lower numbers are those
courses with a greater frequency of offering. The common number "6" relates
to physical chemistry and "7" (e.g., 871) to theoretical chemistry.
The deletion of one old course and its replacement by a new course with the
same number will present no problem because entry into these courses is moni-
tored by the department through the supervisory committees and the chairman of
• ?
the DGSC.
If there is. concern over possible duplication of work done in a previous
course, a notation could be made in the calendar as follows:
New course 861 may not be taken for credit by students who have com-
pleted the old 865.
New course 862 may not be taken for credit by students who have com-
pleted the old 867.
One further point of clarification - old and new CHEM 871 are similar. Some
changes have been made, reflected in both title and slight change in calendar
description. Thus, the new 871 would not be taken for credit by students who
have completed the old 871.
In summary, the changes are being proposed in order to eliminate two-unit
courses and provide a more coherent group of courses, accessible to more than
specialist physical chemists.
T.N.. Bell
•
E. ?
•w
SIMON FRASER UNIVERSITY..
New Graduate Course Proposal Form
?
Fore GS-8
1.
CALENDAR INFORMATION:
'4
Department: ?
Chemistry ?
Course Number:
?
860 ?
•
Title: ?
Advanced Physical Chemistry
Description: A review of
?
concepts inphysicalchemistry,
' an
if
?
_kietics.
Credit Hours:
3
?
Vector: ?
3-0-0 ?
Prerequisite(s) if any: Thiscourse
will not normally be available to undergraduate students for credit, nor to Ph.D.
students specializing in physical chemistry of chemical physics.
2.
ENROLLMENTANDSCHEDULING:
Estimated Enrollment:9
?
When will the course first be offered: ?
1985-3 ?
How often will the course be offered:Onceperyear.
3. JUSTIFICATION: ?
- -
?
-
?
-
During reorganization of graduate physical chemistry offerings, the need for a founda-
tion course
'
inphysicalchemistrysuitableforenteringgraduatestudentsandfornon-
physical chemistry specialists was-recognized. -.
4. RESOURCES: ?
..,.
Drs. P.W. Percival, L.D. Gay,
Which faculty member will normally. teach the course: A.G.SherwoodorT.N.Bell
What are the budgetary implications
-
of mounting the 'course:' None. _Note courses being
dropped.
Are there sufficient Library-sources-(append details)...Yes
Appended: a) Outline of the oursé
?
.
b)
An indication of the competence of the Faculty member to give the course
c)
Library resources
Approved:
Departmental Graduate Studies Committee:
?
.
?
Date:
Faculty Graduate Studies Committee:
?
. .. ?
. ?
- Date:
3 23 25
Faculty: ?
-- -
? .-- ?
- .-
?
-
Datlet-
Senate Graduate Studies committee;
?
Date
;
Senate:
?
Date:
GS -18/1/71
/ U •
?
SIMON FRASER UNIVERSITY
New Graduate Course Proposal Form
?
Form
GS.8
1. CALENDAR INFORMATION:
Department:
?
Chemistry
?
Course Number:869
Title: ?
Selected Topics in Physical Chemistry
Description: A specialized area of physical chemistry will be treated selected from a
list of topics.
Credit Hours: ?
3 ?
Vector: ?
3-0-0
Prerequisite(s) if any: CH860-3
2.
ENROLLMENTANDSCHEDULING:
Estimated Enrollment:6
?
When will the course first be offered:
How often will the course be offered: Once per year. Topics to be determined by
demand.
3.
JUSTIFICATION:
A course is required devoted to specialized topics in physical chemistry for physical
chemistry graduate students. Flexibility in choice of topic is anticipated depending on
student needs.
4. RESOURCES: ?
Drs. I.D. Gay, P.W. Percival,
G.L. Malli, E.M. Voigt or
Which Faculty member will normally teach the course: J. Walkley
What are the budgetary implications of mounting the course:None.Notecoursesbeing
dropped.
Are there sufficient Library sources (append details):Yes
Appended: a) Outline of the Course
b)
An indication of the competence of the Faculty member to give the course
c)
Library resources
Approved: Departmental Graduate Studies Committee:
Faculty Graduate Studies Committee: -.
?
Date:___________
Faculty:
?
Dace?'
Senate Graduate Studies Committee: ?
Z) LiL/y/
'
)
Date: ?
.$.
Senate:
CS .18/1/71
